Hamburg Noir

HISTORY

Quotes


Here’s a century of one-liners, snappy comebacks, and world-weary monologues from hardboiled pulp fiction and film noir.


1920s

You’ll have your city back, all nice and clean and ready to go to the dogs again.
— Red Harvest (Dashiell Hammett, 1929)

1930s

You better be wiping the blood off your face before you go in, Mr. Kells.
— Fast One (Paul Cain, 1930)
Don’t be so sure I’m as crooked as I’m supposed to be. That sort of reputation might be good for business.
— The Maltese Falcon (Dashiell Hammet, 1930)
It took more than one man to change my name to Shanghai Lily.
— Shanghai Express (Josef von Sternberg, 1932)
Would you mind putting that gun away? My wife doesn’t mind, but I’m very timid.
— The Thin Man (W.S. Van Dyke, 1934)
They threw me off the haytruck about noon.
— The Postman Always Rings Twice (James M. Cain, 1934)
It looks like I’ll spend the rest of my life dead.
— The Petrified Forest (Archie Mayo, 1936)
I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed detective ought to be. I was calling on four million dollars.
— The Big Sleep (Raymond Chandler, 1939)

1940s

Joe Fabrini: ‘Do you believe in love at first sight?’
Cassie Hartley: ‘It saves a lot of time.’
— They Drive by Night (Raoul Walsh, 1940)
I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun.
— Farewell, My Lovely (Raymond Chandler, 1940)
We didn’t exactly believe your story, Miss Wonderly. We believed your two hundred dollars. I mean, you paid us more than if you had been telling us the truth, and enough more to make it all right.
— The Maltese Falcon (John Huston, 1941)
Customer: ‘Hotcakes and coffee.’
Waitress: ‘Is that all?’
Customer: ‘No, but the rest of it isn’t on the menu.’
Waitress: ‘You couldn’t afford it if it was.’
— I Wake Up Screaming (H. Bruce Humberstone, 1941)
You’ve got something I never had. You’ve got me to watch out for you.
— The Hard Way (Vincent Sherman, 1943)
There’s one good thing in being a widow, isn’t there? You don’t have to ask your husband for money.
— Shadow of a Doubt (Alfred Hitchcock, 1943)
That’s all it takes, one drop of fear, to curdle love into hate.
— Double Indemnity (James M. Cain, 1943)
Small puzzle pieces are never wrong You just look at them the wrong way.
— Call Northside 777 (Henry Hathaway, 1944)
I wondered what I was shot full of. Maybe something to keep me quiet. Maybe something to make me talk. Maybe both.
— "Murder, My Sweet (Edward Dmytryk, 1944)
They say native Californians all come from Iowa.
— Double Indemnity (Billy Wilder, 1944)
It’s lavish, but I call it home.
— Laura (Otto Preminger, 1944)
Slim: ‘Who was the girl, Steve?’
Steve: ‘What girl?’
Slim: ‘The one who left you with such a high opinion of women. She must have been quite a gal.’
— To Have and Have Not (Howard Hawks, 1944)
Money. You know what that is, the stuff you never have enough of. Little green things with George Washington’s picture that men slave for, commit crimes for, die for. It’s the stuff that has caused more trouble in the world than anything else we ever invented, simply because there’s too little of it.
— Detour (Edgar G. Ulmer, 1945)
Then quit howling! I know you romantic guys. One crack about the beautiful moon and you’re off to the races.
— Mildred Pierce (Michael Curtiz, 1945)
And then I saw her, coming out of the sun, and I knew why Whit didn’t care about that forty grand.
— Build My Gallows High (Geoffrey Homes, 1946)
My daughters have the usual vices — plus a few they’ve invented themselves.
— The Big Sleep (Howard Hawks, 1946)
Devlin: ‘Don’t you need a coat?’
Alicia: ‘You’ll do.’
— Notorious (Alfred Hitchcock, 1946)
I was working in a hash house. You spend two years in a Los Angeles hash house and you’ll take the first guy that’s got a gold watch.
— The Postman Always Rings Twice (Tay Garnett, 1946)
Maybe she was all right, and maybe Christmas comes in July. But I didn’t believe it.
— Dead Reckoning (John Cromwell, 1946)
If I’d been a ranch, they would have named me the Bar Nothing.
— Gilda (Charles Vidor, 1946)
He was a ladykiller. But don’t get any ideas — I ain’t no lady.
— Nocturne (Edwin L. Marin, 1946)
You can’t just go around killing people whenever the notion strikes you. It’s not feasible.
— Born to Kill (Robert Wise, 1947)
My shark had torn himself from the hook, and the scent, or maybe the stain, it was, and him bleeding his life away drove the rest of them mad. Then the beasts go to eatin’ each other. In their frenzy, they ate at themselves. You could feel the lust of murder like a wind stinging your eyes, and you could smell the death, reeking up out of the sea. I never saw anything worse ... until this little picnic tonight. And you know, there wasn’t one of them sharks in the whole crazy pack that survived.
— The Lady from Shanghai (Orson Welles, 1947)
I will tell you about Mrs. Paradine. She’s bad. Bad to the bone.
— The Paradine Case (Alfred Hitchcock, 1947)
It’s better to be a live coward than a dead hero.
— Key Largo (John Huston, 1948)
She reminds me of the first woman who ever slapped my face.
— Road House (Jean Negulesco, 1948)
The work of the police, like that of women, is never over.
— He Walked by Night (Alfred L. Werker, Anthony Mann, 1948)
I wasn’t strong enough to resist corruption, but I was strong enough to fight for a piece of it.
— Force of Evil (Abraham Polonsky, 1948)
Oh, save it for the jury, Marty. Who do you think you’re kidding? I was brought up in the district too. I’ve heard that dialogue from you poolroom hotshots ever since I was ten years old. Get hip ... only suckers work ... don’t be a square ... stay with the smart money. Let the old man get the calluses digging the ditches. No food ... no clothes ... crummy tenements. You’re breaking my heart, Marty.
— Cry of the City (Robert Siodmak, 1948)
You’re the strangest husband I ever had.
— Pitfall (André De Toth, 1948)
Relax, can’t you? It’s simple. This is a retainer. You don’t do a thing for it. Nothing is what you do. If you keep on doing nothing for a reasonable length of time you get the same amount later on. That’s simple, isn’t it?
— The Little Sister (Raymond Chandler, 1949)
In Italy, for thirty years under the Borgias they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo Da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace — and what did they produce? The cuckoo clock.
— The Third Man (Carol Reed, 1949)
In this world you turn the other cheek and you get hit with a lug wrench.
— Impact (Arthur Lubin, 1949)
Joan: ‘Stop calling me Chiquita. You don’t say that to girls you don’t even know.’
Halliday: ‘Where I learned Spanish, you do.
— The Big Steal (Don Siegel, 1949)
Frank: ‘I want to report a murder.’
Detective: ‘Sit down. Where was the murder committed?’
Frank: ‘San Francisco, last night.’
Detective: ‘Who was murdered?’
Frank: ‘I was.’
— D.O.A. (Rudolph Maté, 1949)

1950s

She ain’t the type that makes a happy home.
— Gun Crazy (Joseph H. Lewis, 1950)
I’m still big. It’s the pictures that got small.
— Sunset Blvd. (Billy Wilder, 1950)
I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.
— In a Lonely Place (Nicholas Ray, 1950)
I used to live in a sewer. Now I live in a swamp. I’ve come up in the world.
— No Way Out (Joseph L. Mankiewicz, 1950)
Some people are better off dead. Like your wife and my father, for instance.
— Strangers on a Train (Alfred Hitchcock, 1951)
I don’t pray. Kneeling bags my nylons.
— Ace in the Hole (Billy Wilder, 1951)
Bookie: ‘What’re you gonna do with all that dough?’
Winner: ‘Get an operation so I can play the violin again.’
— Cry Danger (Robert Parrish, 1951)
Stay out of nightclubs. You might get your feelings hurt.
— The Racket (John Cromwell, 1951)
Taking his money was the only way I knew to make Dowser trust me. I folded the bill and tucked it into my watch pocket, separate from my other money, promising myself that at the earliest opportunity I’d bet it on the horses.
— The Way Some People Die (Ross Macdonald, 1951)
I see you had a misspent youth.
— A Place in the Sun (George Stevens, 1951)
Why do you make me do it? You know I’m gonna make you talk.
— On Dangerous Ground (Nicholas Ray, Ida Lupino, 1952)
Be smart, Charlie. Act dumb.
— Hoodlum Empire (Joseph Kane, 1952)
Home is where you come when you run out of places.
— Clash by Night (Fritz Lang, 1952)
Sure, I’m meeting somebody. Just anybody handy as long as he’s a man.
— Niagra (Henry Hathaway, 1953)
You know something? You’re a pretty nice guy — for a girl.
— Angel Face (Otto Preminger, 1953)
You worked in a hotel, but you worked for the guests. Your earnings, your very job depended on their good will. So why offend a wealthy drunk by refusing to drink with him? Why snub a lovely and well-heeled widow when it was so easy to please her?
— Bad Boy (Jim Thompson, 1953)
What’s on your mind? Like I didn’t know.
— The Big Heat (Fritz Lang, 1953)
I never saw him before or after. I like a guy like that.
— Private Hell 36 (Don Siegel, 1954)
I’ll tell you something, Mrs. Anderson. I’d like to correct an erroneous impression you seem to have about me. I’m not at all stupid, Mrs. Anderson. I may sound like I am, but I’m really not.
— After Dark, My Sweet (Jim Thompson, 1955)
What’s the matter? Were you out with a guy who thought no was a three-letter word?
— Kiss Me Deadly (Robert Aldrich, 1955)
I’ve been rich and I’ve been poor. Believe me, rich is better.
— The Big Combo (Joseph H. Lewis, 1955)
Rhett Tanner: ‘What’s he got I don’t?’
Ellie Rhodes: ‘I dunno. I didn’t go to kindergarten with you.’
— The Phenix City Story (Phil Karlson, 1955)
I was checking over some diving gear when a car rolled out of the end of the shed and stopped beside mine. It was a couple of tons of shining Cadillac, and there was a girl in it. She got out and closed the door and walked over to the edge of the pier with the unhurried smoothness of poured honey.
— Flight to Nowhere (Charles Williams, 1955)
You’ve got a great big dollar sign there where most women have a heart.
— The Killing (Stanley Kubrick, 1956)
Maybe I’m gonna die. You’ve got even bigger problems — you’re gonna live.
— The Brothers Rico (Phil Karson, 1957)
That was where you made your mistake, Judy. You shouldn’t keep souvenirs of a killing. You shouldn’t have been that sentimental.
— Vertigo (Alfred Hitchcock, 1958)
The customers go for it — it’s so old, it’s new.
— Touch of Evil (Orson Welles, 1958)

1960s

What I like about you is you’re rock bottom. I wouldn’t expect you to understand this, but it’s a great comfort for a girl to know she could not possibly sink any lower.
— Cape Fear (J. Lee Thompson, 1962)
Maxine: ‘Why don’t we go down to the beach?’
Rev. Shannon: ‘I can get down the hill, Maxine, but I’m not too sure about getting back up.’
Maxine: ‘I’ll get you back up, baby. I’ll always get you back up.’
— The Night of the Iguana (John Huston, 1964)

1970s

A friend should always underestimate your virtues and an enemy overestimate your faults.
— The Godfather (Francis Ford Coppola, 1972)
Evelyn: ‘What were you doing there?’
Jake: ‘Working for the District Attorney.’
Evelyn: ‘Doing what?’
Jake: ‘As little as possible.’
Evelyn: ‘The District Attorney gives his men advice like that?’
Jake: ‘They do in Chinatown.’
— Chinatown (Roman Polanski, 1974)

1980s

You’re not too smart are you? I like that in a man.
— Body Heat (Lawrence Kasdan, 1981)
Listen to me, you dummy, I’m a cop. I make twelve thousand dollars a year, and I’m the highest paid guy on this street. I’ve got three dollars and sixty-five cents in my pocket. You want me too, I’ll take up a collection. You want a million dollars, you gotta wait.... You hurt anybody else and I’m gonna find out what you love the most and kill it. Your mother, your father, your dog. Don’t matter what it is, it’s dead.
— Crime Story (Michael Mann, 1986)
It’s like some kind of a cross between Robin Hood and a cop. It just can’t work out too well.
— And Still Drink More (Jakob Arjouni, 1987)

1990s

Easy, walk out your door in the morning and you’re mixed up in something. The only thing you can really worry about is if you get mixed up to the top or not.
— Devil in a Blue Dress (Walter Mosley, 1990)
What I do for a living may not be very reputable. But I am. In this town I’m the leper with the most fingers.
— The Two Jakes (Jack Nicholson, 1990)
I was driving south with this friend of mine, Jack Billingsley — I guess you know the Billingsleys, big real estate family? — and our car stalled, and I walked back to a garage to get help. So I get back with the tow-truck, and darned if that crazy Jack isn’t gone.
— After Dark, My Sweet (James Foley, 1990)
You’re much more intelligent than you appear to be, Lieutenant. Must be a big advantage in your field. In my field, everyone was always so desperate to seem cleverer than they were.
— Mulholland Falls (Lee Tamahori, 1996)
Go back to Jersey, sonny. This is the City of the Angels, and you haven’t got any wings.
— L.A. Confidential (Curtis Hanson, 1997)

2000s

If I’m not back in half an hour, you go see Reverend Lynch at First Methodist and you tell him what’s happened. Do NOT go to Father Callaway.
— Road to Perdition (Sam Mendes, 2002)
Honey, you only shoot people when they’re having their supper?
— Fire in the Hole (Elmore Leonard, 2002)
A man’s bookcase will tell you everything you’ll ever need to know about him.
— The Long Fall (Walter Mosley, 2009)

2010s

If you wanted me to shoot you in the front, you shoulda run toward me.
— Justified (Graham Yost, 2015)
Better a quick answer than a slow silence.
— Babylon Berlin (Handloegten, Tykwer, Borries, 2017)

2020s

Sometimes you don’t see the line until you cross it.
— Nightmare Alley (Guillermo del Toro, 2021)